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В эпоху восточного Возрождения получили распространение теории суфического «духовного зрения», согласно которым высшую реальность можно прозреть в видениях сакрального образа, а также идея о том, что божественный образ преобразует и того, кто получает «духовное зрение». Эта идея «духовного зрения» нашла преломление и в учении Накшбан-дия (основателя суфического ордена Накшбандия).
Так, в нём говорится, что свет есть некий сверхматериальный двигатель, с помощью которого материальная стихия преображается и просветляется.
Красота всевышнего, по мысли мыслителя, отражается в естественном, то есть реальном мире. В нём есть преображенная материя — «воплощенная идея». Она имеет способность глубоко воздейс-тввать на реальный мир, очищать душу человеческую, а значит, улучшать её.
Лирические идеи классических поэтов имеет
природу. Но этот цветовые образы для поэта ценны прежде всего тем, что они воплотили в себе поиски тайного знания и идею преображения житейского, бытового в нечто иное. (Среди узбекских классиков Навои говорил не просто как суфический поэт о преображении мира — он его творчески преображал. Оттого-то и двойственны его образы, ведь каждый из них — о двух видах бытия: земной и небесном).
Именно Навои выработал изобразительную технику, целиком построенную на взаимодействии и яркости простого цвета. Как известно, «в лирике Навои мы столкнёмся с иным положением» [3,120]. Пространство, колористика имеют в такой технике гармоничный смысл — естественный и символический.
Таким образом, новаторское обращение к восточной колористической традиции объясняется своеобразная колористическая традиция в узбекской лирике.
суфические истоки и естественную человеческую
Список литературы:
1. Алишер Навоий. ^аро кузим. - Т.: Адабиёт ва санъат, - 1988.
2. Атоий. Хдёт васфи. - Т.: Адабиёт ва санъат, - 1988.
3. Исо^ов Ё. Навоий поэтикаси. - Т.: Фан, - 1983.
4. Кандинский В. О духовном в искусстве (Живопись)/В. Кандинский. - Л.: Фонд «Ленинградская галерея», - 1990.
D OI: http://dx.doi.org/10.20534/EJLL-16-4-42-44
Bovkunova Oksana Volodymyrivna, Dnipropetrovsk National University by O. Honchar
Dnipro, Ukraine E-mail: ov2bovkunova@mail.ru
From Mannerism to Baroque: poetics peculiarities of "arcadia" genre by PH. Sidney
Abstract: The present paper is an attempt of understanding some aspects of the formation of novel-istic prose of the Renaissance English literature. In particular, the change of genre and stylistic settings of the poetics of a traditional era and the discovery of the artistic style of the Modern times. The material for the construction of a literary-historical observation is the "Arcadia" by Ph. Sidney — a novel that refracts in a complex systematic unity artistic elements of mannerism and those of the Baroque style of the future.
Keywords: Ph. Sidney, Arcadia, poetics, style, genre, novel, Renaissance, mannerism, Baroque.
As it is demonstrated and proved by deep investiga- typology (L. Pryvalova) [6; 7] and genesis of English-
tions of poetics (L. Potiomkina, L. Nikiforova, T. Vla- Renaissance novel, many poetological ways of aesthetic
sova, N. Torkut) [4; 5; 7; 3; 11; 12], Elisabeth epoch's complication of multilevel form which take place on the
novelists' artistic search — J. Lily, Ph. Sidney, R. Green, basis of mannerist "ground" but give the way to baroque
T. Lodge, T. Nash, T. Deloney — is marked by intergenre at the same time.
From Mannerism to Baroque: poetics peculiarities of "arcadia" genre by PH. Sidney
Such stylistic basis of genre creation defines the choice of genre markers which are important for 'bigger' epic form of the English Renaissance's genres and the directions to their study. Branched in their own genetic origin, artistic innovations of Renaissance England's novelists meet in correlation of novelistic and epic. It is demonstrated by long distance vector of continental Europe's novel renovation at the edge of traditionalism (at the beginning of which are M. Boiardo and L. Ariosto as it is known), and the central line of "poetic" introduction to the genre of novel (which is identified not with the form but the essence of poetics).
This was demonstrated by Ph. Sidney in theoretical explanation of the category of poetic mimesis [3]. Thus, aesthetic essence of traditional narrative forms correlations which are important for "Shakespeare epoch" is the most clearly demonstrated in Sidney's variant of genre poetics, created in the context of mannerism development into baroque.
The basis of Ph. Sidney's artistic experiment in the sphere of novel genre became correlation of pastoral and knight novel genre traditions, directed to the renovation of epic genre building. In "Old Arcadia" (later — "OA") [1] reinterpretation of knight novel central motifs was submitted to polemic — as to the Renaissance continental pastoral — transformation of pastoral modus — "an ideal place". In the second variant of Sidney's novel - "New Arcadia" (later — "NA") [2] the structure and organization of artistic reality, peculiar to knight and pastoral modifications of the genre, is built up as a true and gradual implementation of orientation to the specific sample of heroic poetics creation, is set up in the genre of its new genre kind on the basis of understanding inexhaustible number of ways of poetological implementation of aesthetic principle of "imitation" (mimesis).
Sidney's attention to the artistic reality regulating is determined by a complex correspondence of neoplatonism and neoaristotlism in literary-theoretical reflection of the writer, is reflected in centralization of his novel plot organization, where Sidney's understanding of correlation of pastoral seclusion and heroic "deed" are realized.
Plot frame "NA" is connected with story and traveling of two main characters — princes Musidour and Pirocle [2]. The stages of through plot appear not in linear-chronological order, but in a constant kaleidoscopic switch of synchronic novel time and previous personages' stories, which are given to the reader as inner stories and vise versa. Epic plot, complementation of novel space by many extra plot lines, by mosaic of inner stories is one of the brightest peculiarities of Sidney's genre
and style innovations. This opens and demonstrates the prospective of courteous-heroic baroque novel. The problem of genre specific of such transitional according to its nature plot type is still very contradictory. Trying to study its peculiarity on the basis of the previous genre kinds the scholars, probably, do not pay attention to the fact that "in the nature of Renaissance novels plots, especially in "high", intermediate — final and main — character of the Renaissance literature" [3, P. 23].
Outer brightness, non-stability, broken plot of "NA" is a Mannerism step to stereoscopic structure of a baroque novel. The process of breaking the rhetoric principle of composition which one feels in "NA", calls for the change of Mannerism maze of "OA" fable lines by a singe fable which is typical for baroque standards as for the fullness of artistic reality scope in its universal objective laws. With its division, it gives the novel a definite plot fullness, becomes a solution of the main aesthetic problems in two time layers (as in Boyle, Ford, Scudery's classical courteous-heroic novels) [5, P. 111-115].
Analytical straightening of complicated row of events "NA" demonstrates that a strange novel composition, which is traditionally subjected to the through motif of traveling, becomes more stable which is peculiar for the baroque style. Musidour and Pirocle's heroic traveling is a structurally-organized center which divides novel chro-notop into synchronic "present" and "past" united, in their turn, by the notion of exotic space. It tells about the writer's desire to establish the date and localize the narration as courteous-knight novel. This very transformation of plot accent and its introduction into the main canvas of the narration, mainly in parenthetical episode is a device in its meaning of the word which creates a wide epic background.
"NA" plot is created from touches of pastoral, adventurous-heroic, novelistic and knight worlds into which all the canvas of the novel is broken up into. And every of them, having their own orbit, is connected with the rest in a definite artistic world of the whole. Its general center of idea — a problem of "political man" forming, a future leader is a global one for "NA". It is given in different variants of situations and dominating in the plot as a "trial" has its own genre function.
In "NA" Sidney works over moral-psychological category of "examination" both extensively and extensively: love-pastoral and heroic-political (the princes' presence at the riot of iloets) at synchronous time (the 1st and the 2nd books); knight, social-adventurous, heroic-political in the novel "past" (touch stories) and in the
"present" (the 3rd book). Variety and variability of "exam" situations in every of the worlds — "NA" touches — are the engine of events plot adventurousness and the basis of the main plot decentral nature. Encyclopedic vast-ness and genre universalism of the novel problems are submitted to this: in every of the "worlds" personages face a dilemma of the style of life choice or a problematic deed which is to be solved every time according to the circumstances [3, P. 25].
Gradually a love line is being added to the adventurous-heroic one. This is a definite stage of "a political person" upbringing. Starting from the traditional to the medieval knight novel motif of being in love according to the portrait, Sidney offers his reader a different perspective. Not love but the sense itself induces the personages to make deeds to proof their power and the sense itself during the traveling becomes the next exam for them.
Sidney' understanding of a definite inner dependence between the category of "heroic" and love sphere is demonstrated in "NA", as we believe, in the full swing. Peculiarity of Sidney's interpretation of the given dependence is in love "glorification", "politization". It appears as a result of the complex coexistence and contradiction of two antinomic world view beginnings of the author's man conceptions: renaissance belief in the human's activity and mannerist idea of a man as a being who is not the master of his own soul.
Being written in the period when both these desires demonstrate themselves fully. Sidney is an interesting example of the new genre aesthetic forming. In it on the basis of thinking-over method of the previous experience of the traditional poetics the peculiarities of Mannerism stage in the literature of the Renaissance development as well as the stage of baroque tendencies appearing in it are reflected.
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